document_title: Diary of a Wimpy Kid: The Long Haul (film)

question_text: who plays the mom in diary of a wimpy kid the long haul

text: Plot[edit]

text: One year after the previous film, while at the Corny's family restaurant, the Heffley family — consists of  Greg, Rodrick, Frank, Susan and Manny — plans to attend Meemaw's 90th birthday. However, after Greg rescues his younger brother Manny, who got stuck inside a tube in the play area, Greg ends up in a ball pit with a diaper stuck on his hand, startling him. He subsequently becomes infamous after the people around him record him and post the footage on the internet, leading Greg to be dubbed as "Diaper Hands", much to Greg's devastation.

text: Later, at the Heffley residence, Greg learns that Player Expo is taking place not very far from Meemaw's house in Indianapolis. Greg's gaming star, Mac Digby, will be attending, and Greg hopes to meet him and get in one of his videos so he will gain newfound popularity. He plans to sneak off from the road trip to attend the Expo without his parents' knowledge, however. The Heffley family hits the road, where their devices are immediately confiscated by Susan, who wants the road trip to be "absolutely technology-free."

text: After arriving at a grimy motel, Greg discreetly gets into the Sienna to retrieve his phone and plans to use it. Later, when Greg and Rodrick are relaxing in the hot tub, Rodrick hears a notification from Greg's phone and discovers his plans to go to Player Expo. Greg discourages Rodrick from telling Susan, saying that they had a rock band video game tournament there that Rodrick could participate in. Liking the idea, Rodrick opts to go with Greg to the Expo.

text: Greg later encounters a family, whom he nicknames "the Beardos" due to the father's long beard, after being annoyed by a loud noise created by the Beardo siblings, who are playing with a cart, and storms out of the room in his underwear. He confronts them but Brandi, the eldest sibling, rolls the trolley into their Volkswagen, leaving a huge scratch. Just as Mr. Beardo comes out of his motel room, Brandi blames Greg for the damage and Mr. Beardo goes after him but he escapes. The next morning, Greg realizes he slept in the Beardos hotel room, but is able to escape.

text: The next day, the Heffleys attend a county fair where Manny wins a pig. Mr. Beardo and his family notices Greg and begins chasing after him but manages to outrun yet again. Back on the road, the Heffleys, unable to take care of the pig, drop it off at the petting zoo, much to Manny's dismay, but not before Greg reroutes the GPS to the Player Expo convention. Checking at the hotel room, Greg and Rodrick sneak out to go to Player Expo. Susan was worried about them until Frank tells her that she didn't want them to use cell phones which Susan gets angry since she doesn't like being wrong. However, after Frank and Susan see their sons on live television, they go to get the boys themselves.

text: Upon Greg sees Mac Digby participating in a video game competition, Greg instructs Rodrick to record him going up on stage with Mac so his popularity will boost, but the attempt fails when Susan storms into the stage and inadvertently reveals that he is Diaper Hands to the public. Susan opens up to Greg and says that all she wanted was a nice road trip that would bring the family closer together, and she accuses Greg of not caring. Infuriated, Greg snaps back at Susan, saying that she doesn't care about what he loves, which is why he had to sneak out to the Expo in the first place. Hurt by her son's words, Susan hands her phone to Greg because she doesn't care anymore.

text: After encountering the Beardos that stole their stuff, Susan breaks down, and other obstacles on the road, the Heffleys celebrate happily at Meemaw's. Returning home, Manny manages to get the pig back. At the end, Greg explains that although the road trip wasn't perfect, he still wouldn't change a thing.

text: He says that Manny was allowed to keep his pig as a pet, Rodrick was able to get a 2018 Toyota Sienna Limited AWD, and Dad was able to explain having time off from work to bond with family. Greg expresses excitement for where they'll be going next year, but Susan steps in to say they will be flying.

text: In a mid-credits scene, two girls take selfies with Greg, who they recognize as Diaper Hands.

text: Cast[edit]

text:
Jason Drucker as Greg Heffley
Alicia Silverstone as Susan Heffley, Greg's mother
Tom Everett Scott as Frank Heffley, Greg's father
Charlie Wright as Rodrick Heffley, Greg's older brother
Owen Asztalos as Rowley Jefferson, Greg's best friend
Wyatt and Dylan Walters as Manny Heffley, Greg's little brother[6]
Joshua Hoover as Mac Digby, a popular internet gamer who Greg idolizes
Christopher A. Coppola as Mr. Beardo, the main antagonist of the film
Kimberli Lincoln as Mrs. Beardo, Mr. Beardo's wife
Mira Silverman as Brandi Beardo, Mr. Beardo's rude and spoiled daughter who blamed Greg for damaging their VW Bus
Mimi Gould as Meemaw, Susan's grandmother and Greg's great-grandmother

text: Production[edit]

text: Development[edit]

text: In 2012, the series' third entry, Diary of a Wimpy Kid: Dog Days was described as the last live action film in the franchise.[7][8] In August 2012, while doing press for the film, author Jeff Kinney and actors Zachary Gordon and Robert Capron each indicated that there were no plans for a fourth movie, but did not dismiss the possibility entirely.[7][8][9]

text: Kinney replied to inquiries regarding the possibility of another sequel, stating, "At present, we don’t have a fourth film in development, but you never know!"[9] When describing the likelihood of starring in another film in the series, Gordon explained, "Dog Days most likely will be the last movie. The main problem is [the cast] is getting older. You can't stop it. There's no way to temporarily stop us from changing and growing up. You know, that's the problem because the characters are supposed to be timeless."[7]

text: In March 2013, Gordon stated in a Spreecast live stream that there would not be a fourth live action film. Previously, Kinney had indicated that instead of making a live action film of the third novel, Diary of a Wimpy Kid: The Last Straw, instead he would like to see Diary of a Wimpy Kid: Cabin Fever adapted into an animated film, stating in an interview, "I hope that it gets made into an animated movie. but I'd really like to see it turn into an animated television special."

text: In 2016, it was announced that a live-action film adaptation of the ninth book The Long Haul was in development, and would be featuring a completely new cast playing the Heffleys.

text: Release[edit]

text: The film was released on May 17, 2017, in the Philippines, May 19, 2017, in the United States, and May 20, 2017, in the United Kingdom.[5]

text: Trailer reaction[edit]

text: On February 23, 2017, a theatrical poster and teaser trailer were released, and the following month, the official trailer was released. Both trailers received negative feedback from fans for its recasting of the main characters. Many took to social media to further express their outrage and began using the hashtag "#NotMyRodrick", which eventually became a widespread meme. Other hashtags included "#NotMyHeffleys" and "#NotMyRowley".[10]

text: Box office[edit]

text: The film opened in about 3,174 theaters, the second biggest opening for a Diary of a Wimpy Kid film, after Dog Days, The Long Haul grossed $20.7 million in the United States and Canada and $19.3 million in other countries for a worldwide total of $40.1 million, against a production budget of $22 million.[3] It was the lowest grossing film of the Diary of a Wimpy Kid series.[11]

text: In North America, the film was initially projected to gross around $12 million from 3,129 theaters during its opening weekend.[4] However, after grossing $2 million on its first day, projections were lowered to $7 million. It ended up finishing with $7.1 million, placing 6th at the box office and marking the lowest opening of the franchise.[12]

text: When the film was released in the United Kingdom, it opened on #2, behind Pirates of the Caribbean: Dead Men Tell No Tales with £1,444,092.[13]

text: The film has grossed over $2.6 million in the United States through home video sales.[14]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 20% based on 66 reviews and an average rating of 4.2/10. The site's critical consensus reads, "With an all-new cast but the same juvenile humor, Diary of a Wimpy Kid: The Long Haul finds the franchise still stuck in arrested – and largely unfunny – development."[15] On Metacritic, the film has a score of 39 out of 100 based on 16 critics, indicating "generally unfavorable reviews".[16] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, down from the first three films' "A-".[17]

text: Home media[edit]

text: Diary of a Wimpy Kid: The Long Haul was released on Digital HD from Amazon Video and iTunes on August 1, 2017, and on Blu-ray and DVD on August 8, 2017 by 20th Century Fox Home Entertainment.[18][19]


document_title: The Oak and the Reed

question_text: what makes the oak think it is better than the reed

root

text: The Oak and the Reed

text: The story and its variants[edit]

text: There are early Greek versions of this fable and a 5th-century Latin version by Avianus. They deal with the contrasting behaviour of the oak, which trusts in its strength to withstand the storm and is blown over, and the reed that 'bends with the wind' and so survives.[1] Most early sources see it as a parable about pride and humility, providing advice on how to survive in turbulent times. This in turn gave rise to various proverbs such as 'Better bend than break'[2] and 'A reed before the wind lives on, while mighty oaks do fall', the earliest occurrence of which is in Geoffrey Chaucer's Troilus and Criseyde (II.1387-9). It so happens that there is an overlap here with the old Chinese proverb 'A tree that is unbending is easily broken'. The saying originally occurred in the religious classic, the Tao Te Ching, with the commentary that 'The hard and strong will fall, the soft and weak will overcome'.[3]

tag: p

text: A variant Greek version of the fable substituted an olive tree for the oak. The tree taunts the reed for its frailty and yielding to every wind but the reed does not answer back. The wisdom of its behaviour becomes apparent when the tree is snapped in the buffeting of a storm. Similar advice, evidence that the fable was then current among Jews, is given in the Talmud (Tanis 20b), where the saying 'Be pliable like a reed, not rigid like a cedar' is attributed to Rabbi Simeon ben Eleazar. Although the fable with an oak has prevailed over the one with an olive, a group of 16th century fabulists preferred the latter version. They include the French author Gilles Corrozet (1547)[4] and two Italians, Gabriele Faerno (1564)[5] and Giovanni Maria Verdizotti.[6] In Heinrich Steinhowel's 1479 edition of the fables a fir tree (tanne, Latin abies in bilingual editions) is the protagonist.[7] This suggests that the fable has become confused with that of The Fir and the Bramble, in which another tree that trusts in its superior qualities is bested. However, that too appears independently in Steinhowel's collection as "The Thornbush and the Fir" (Der Dornbusch und die Tanne). Ultimately all these versions refer back to the ancient genre of Near Eastern dispute poems which also included the tamarisk and the palm as disputants, and the poplar and the laurel.[8]

text: Among other Renaissance variants may be included the ash and the reed in the emblem book of Hadrianus Junius (1567), which cites the same situation as an example of "the patience of the triumphant mind" (l'équité de l'esprit victorieuse).[9] Laurentius Abstemius had earlier written his own variant in his Hecatomythium (1490) concerning an elm and willow (de ulmo et silere) in which the former's roots are undermined by the stream until it topples in, which points the same lesson that those who 'give way to powerful people are wiser than those who suffer a shameful defeat by trying to resist'.[10]

text: Later interpretations[edit]

text: When the fable figured in 16th century emblem books, more emphasis was put on the moral lesson to be learned, to which the story acted as a mere appendage. Thus Hadrianus Junius tells the fable in a four-line Latin poem and follows it with a lengthy commentary, part of which reads: 'By contrast we see the reed obstinately holding out against the power of cloudy storms, and overcoming the onrush of the skies, its salvation lying in no other protection than a modicum of patience. It is just the same in the case of a just and balanced spirit, which cares not for invincible strength and defeats malice and other evils by patient endurance, and achieves great riches by the acquisition of undying glory - whereas boldness more often than not has its downfall.'[11] Geoffrey Whitney borrowed Hadrianus' illustration for his own Choice of Emblemes (1586), devoting one stanza of his poem to the fable and the second to its lesson:

text: Interpretations of the fable began to change after the more nuanced retelling in La Fontaine's Fables, Le chêne et le roseau (I.22). Here the oak has compassion on the reed's fragility and offers it protection, to which the reed politely replies that it has its own strategy for survival, 'I bend and do not break'. This is then put to the test when a storm breaks and brings the oak's 'head that was neighbour to the sky' on a level with the roots 'that touched the empire of the dead'.[13] Written in the autocratic time of Louis XIV of France, this was so successfully achieved that it appeared to teach the value of humility at the same time as suggesting that rulers may not be as powerful as they think themselves. So current did that sly interpretation become that Achille Etna Michallon's later painting of "The Oak and the Reed", now in the Fitzwilliam Museum (1816, see left), could easily be seen as a reference to the recent fall of the Emperor Napoleon I.

text: In democratic times, the conduct of the reed came to be seen as cowardly and self-serving and the fable began to be rewritten from this point of view. In Robert Dodsley's collection of 1761 it appears as "The Oak and the Willow", in which the willow challenges the oak to a trial of strength in withstanding a storm. The oak puts up a heroic fight and, after it falls, condemns the willow's conduct as mean and cowardly.[14] An 1802 American rhymed version of this draws the political conclusion even more strongly. Set 'within the commonwealth of trees', it presents the two trees as sharing in its government. When a storm 'threatens the constitution of the state', the willow cringes acquiescently while the oak goes down fighting, but will not acknowledge the willow as the ultimate victor.

text: Much the same point was made in Jean Anouilh's reinterpretation of the story in 1962. There the oak asks the reed if it doesn't find La Fontaine's fable morally detestable. The reed's answer is that the limited concerns of 'we little folk' will see them better through testing times than taking the moral high ground. When once again the oak falls in the storm, the reed jeeringly asks if he had not foreseen the outcome correctly. The tree's answer to the reed's envious hatred is simply, 'But I am still an oak'. This stems from the thinking behind another ancient emblem that appeared among the Emblesmes of Hadrianus Junius (1567). Placed before a version of "The oak and the reed" (which is there told of a rowan),[16] it pictures an oak whose branches are stripped by a gale and has the title "The disasters of princes are unlike those of ordinary folk". It is accompanied by a quatrain that concludes "The prince disaster has impoverished/ Retains the honour of his lineage."[17] Nobility of character too is the equal of high parentage.

text: Artistic interpretations[edit]

text: Since this is one of the rare fables without human or animal characters, the subject has been a gift to artists and illustrators. From the earliest printed editions, the makers of woodcuts have taken pleasure in contrasting diagonals with the verticals and horizontals of the picture space, as well as the textures of the pliable reed and the sturdy tree trunk.[18] Among 16th century emblem-makers there was even a prescription for how the scene should be presented. According to Hadrianus Junius (1565), ‘The way the picture should be drawn is straightforward: in it, one of the winds is blowing with puffed-out cheeks, breaking up the huge trees in its way, pulling them up, uprooting them and flinging them around; but a patch of reeds survives unscathed.’[11] Other contemporary examples of this approach are in Bernard Salomon's illustration in Les Fables d'Esope Phrygien (1554, see above) and the Latin poems of Hieronymus Osius (1564).[19]

text: Some variations depend on the version of the fable that is being recorded. In the version by Samuel Croxall (1732), which was widely followed, the uprooted oak is floating downstream and enquires of a reed how it has survived the storm.[20] In George Fyler Townsend's new translation (1867), the oak has fallen across a stream and asks the same question of the reeds there.[21]

text:
With the growing interest in landscape art, many French artists availed themselves of the fable's dramatic possibilities, including the illustrator Gustave Doré, who made two different woodcuts of a peasant struggling through stormy landscapes and another of a horseman unseated by the falling oak.[22]  Achille Michallon's landscape of 1816 (of which there is also a black-and-white print)[23] is said to be inspired by the style of Jacob Ruisdael,[24] but it also has aspects of the dramatic landscapes of French Romanticism. Later examples of this include treatments of the fable by Guillaume Alphonse Harang (1814-1884)[25] and François Ignace Bonhommé (1809-1893), both dating from 1837.[26]
Jules Coignet's picturesque treatment in the Musée Jean de La Fontaine, also dating from the second quarter of the 19th century, is a study of different textures of light as it falls on the windswept reeds and the foliage of the fallen oak.[27] This is dramatised even further in the Japanese woodcut version of the fable by Kajita Hanko, published at the end of the century in the Choix de Fables de La Fontaine, Illustrée par un Groupe des Meilleurs Artistes de Tokio (1894), which has an olive rather than an oak as subject.[28]  Contrasting light effects are equally the subject of Henri Harpignies's sombrely coloured drawing in the Musée Jean de La Fontaine[29] and of the watercolour painted by Gustave Moreau about 1880.[30]

text: The turn of the century saw a statue of the subject by Henri Coutheillas exhibited in Paris. It is now in the Jardin d'Orsay in Limoges and contrasts a swaying female nude with the grizzled giant who is tumbles at her feet as he clutches a broken branch in his hand. During the 20th century there were a number of prints made by prominent artists. They include Marc Chagall's etching from his La Fontaine series (1952),[31] Roland Oudot's coloured woodcut (1961)[32] and Salvador Dalí's coloured print of 1974.[33]

text: Musical Versions[edit]

text: In the 19th century, the singer Pauline Viardot set La Fontaine's fable for piano and soprano and was accompanied by Frédéric Chopin in the concert they shared in 1842. In the 20th century the fashion was for slang versions. One of the first appeared among the seven published in 1945 by Bernard Gelval[34] which afterwards became part of the sung repertoire of the actor Yves Deniaud. It was followed in 1947 by the second volume of 15 fables célèbres racontées en argot (famous fables in slang) by 'Marcus', in which Le Chêne et le Roseau was included.[35] While this keeps fairly closely to La Fontaine's text, Pierre Perret's 1990 rap version is a looser adaptation of the fable into a series of quatrains with a refrain in between.[36] The mighty oak 'stacked like the Himalayas' talks down to the reed in its marsh where 'up there the winds whizz and down 'ere's rheumatiz' (En haut t'as le mistral en bas les rhumatismes) but his pity is rejected and the fate soon to overtake him foretold. Cartoons were eventually made of these versions and released on DVD under the title The Geometric Fables; "The oak and the reed" appeared in volume 3 of the series (Les Chiffres, 1991).

text: In 1965 a poetic version by Peter Westmore was included as the last piece in Edward Hughes' Songs from Aesop's Fables for children's voices and piano. Two groups from Quebec have made use of the fable more recently. The deathcore band Despised Icon recorded their version on the album Consumed by your Poison in 2002.[37]  The grunted lyrics parallel La Fontaine's narrative: the reed rejects the protection offered by the oak for its own pliable behaviour. After the storm 'The one who thought himself so strong now among the dead belongs' (Celui qui se croyait si fort réside maintenant parmi les morts).[38] There is also a folk-rock adaptation by Les Cowboys Fringants recorded on their 2008 album L’Expédition.[39] The lyrics emphasise how holding to one's point of view isolates individuals but seem to recommend the reed's strategy for survival in the words of the refrain that one must 'fall to rise again' (tomber pour se relever) repeatedly.[40] Another musical interpretation of the fable is Michael Galasso's incidental music for the segment based on the fable in Robert Wilson's production of Les Fables de La Fontaine for the Comédie-Française (2004).[41]

text: There has also been a hip hop dance version of the fable in France choreographed for three dancers by Mourad Merzouki in 2002.[42] The piece was included in Annie Sellem’s composite project Les Fables à La Fontaine as well as performed separately and is one of the four segments from the production included in the film Les Fables à La Fontaine (2004) directed by Marie-Hélène Rebois.[43]


document_title: Scotty Doesn't Know

question_text: guy who sings scotty doesn't know in eurotrip

question_tokens: guy who sings scotty does n 't know in eurotrip

text: Scotty Doesn't Know

text: In the film[edit]

text: In the film EuroTrip, Scotty (Scott Mechlowicz) is dumped by his girlfriend Fiona (Kristin Kreuk) for the lead singer of a band (played in the film by Matt Damon). The band performs the song at a party Scotty is attending and is praised by many characters in the film (including Scotty's parents and eventually Scotty himself) as being "catchy." The song becomes something of a popular phenomenon, appearing on the radio and across the world; in Bratislava, the song has been remixed and is playing in a popular nightclub. By the end of the film, it has become so widespread and popular that Scotty's best friend Cooper is able to use it as his cell phone ring tone.

text: Chart positions[edit]

text: "Scotty Doesn't Know" debuted at #89 on the U.S. Billboard Pop 100 for the chart week of July 22, 2006.[1]

text:
Chart (2006)

Peakposition

U.S. Billboard Pop 100

53[citation needed]

U.S. Billboard Hot 100

75[citation needed]

tag: table


document_title: Vixen (Vixen album)

question_text: who wrote edge of a broken heart by vixen

text: Vixen (Vixen album)

text: Track listing[edit]

text:
Side one

No.
Title
Writer(s)
Length

1.
"Edge of a Broken Heart"
Richard Marx, Fee Waybill
4:24

2.
"I Want You to Rock Me"
David Cole, Janet Gardner
3:30

3.
"Cryin'"
Gregg Tripp, Jeff Paris
3:32

4.
"American Dream"
Jon Butcher
4:19

5.
"Desperate"
Brian Miku, Leah Santos, Jan Kuehnemund
4:16

text:
Side two

No.
Title
Writer(s)
Length

6.
"One Night Alone"
Tripp, Paris
3:50

7.
"Hell Raisers"
Scott Metaxas, Kenneth Dubman, Vixen, Spencer Proffer
4:27

8.
"Love Made Me"
John Keller, Marcy Levy, Michael Caruso
3:18

9.
"Waiting"
Kuehnemund, Gardner
3:11

10.
"Cruisin'"
Kuehnemund, Gardner, Keith Krupp
4:24

text:
[show]CD and cassette edition bonus track

No.
Title
Writer(s)
Length

11.
"Charmed Life"
Tripp, Paris
4:05

text:
[show]Japanese CD edition bonus track

No.
Title
Writer(s)
Length

11.
"Give It Away" (replaces "Charmed Life")
Geoff Leib, Michael Thompson
3:32

text: Personnel[edit]

text:
Janet Gardner – lead and backing vocals, rhythm guitar
Jan Kuehnemund – lead and rhythm guitar, backing vocals
Share Pedersen – bass, backing vocals
Roxy Petrucci – drums, backing vocals

tag: ul

text:
Derek Nakamoto – keyboards
Richard Marx - keyboards on track 1
Vivian Campbell - guitar on track 5

text:
Richard Marx - producer and arrangements on track 1
Brian Foraker - engineer and mixing on track 1
David Cole - producer, engineer, mixing and arrangements on tracks 2, 3, 5, 8–11
Rick Neigher - producer and arrangements on tracks 2, 3, 5, 8–11
Spencer Proffer - producer and arrangements on tracks 4, 6, 7
Hans Peter Huber - engineer and mixing on tracks 4, 6, 7
Peter Doell - additional engineering
Annette Cisneros, Jimmy Perziosi, Judy Clapp, Mark Stebbeds - assistant engineers
Greg Fulginiti - mastering at Artisan Sound Recorders, Hollywood, California
Susanne Marie Edgren, Lewis Kovac - production coordinators
Henry Marquez - art direction

text: Charts[edit]

text:
Chart (1988–89)
Peak
position

German Albums (Offizielle Top 100)[3]
39

Swedish Albums (Sverigetopplistan)[4]
47

UK Albums (OCC)[5]
66

US Billboard 200[6]
41

text:
Year
Single
Chart
Position

1988
"Edge of a Broken Heart"
Billboard Hot 100[7]
26

1989
"Cryin'"
22

"Love Made Me"
—


document_title: Halloween (2007 film)

question_text: who played michael myers sister in halloween 2007

text: Halloween (2007 film)

text: Plot[edit]

text: On Halloween in Haddonfield, Illinois, ten-year-old psychopath Michael Myers (Daeg Faerch) murders a school bully (Daryl Sabara). Later that evening, Michael murders his older sister Judith (Hanna R. Hall), his mother's boyfriend Ronnie (William Forsythe), and Judith's boyfriend Steve (Adam Weisman). Only his baby sister, Angel Myers, is spared. After one of the longest trials in the state's history, Michael is found guilty of first-degree murder and sent to Smith's Grove Sanitarium under the care of child psychologist Dr. Samuel Loomis (Malcolm McDowell).

text: Michael initially cooperates with Loomis, claiming to have no memory of the killings; his mother Deborah (Sheri Moon Zombie), visits him regularly. Over the following year, Michael becomes fixated on his papier-mâché masks, closing himself off from everyone, even his mother. When Michael kills a nurse as Deborah is leaving from one of her visits, she breaks down and commits suicide.

text: For the next 15 years, Michael (Tyler Mane) continues making masks and not speaking to anyone. Loomis, having continued to treat Michael over the years, attempts to move on with his life and closes Michael's case. Later, Michael kills the sanitarium employees and escapes from Smith's Grove. He kills a truck driver for his clothes, and makes his way back to Haddonfield. On Halloween, Michael arrives at his now-abandoned childhood home, where he recovers the kitchen knife and Halloween mask he stored under the floorboards the night he killed his sister.

text: Meanwhile, Laurie Strode (Scout Taylor-Compton) and her friends Annie Brackett (Danielle Harris) and Lynda Van Der Klok (Kristina Klebe) prepare for Halloween. Throughout the day, Laurie witnesses Michael watching her from a distance before going to babysit Tommy Doyle (Skyler Gisondo). At Michael's childhood home, Lynda meets up with her boyfriend Bob Simms (Nick Mennell), and they have sex. Michael appears, murders them, and then heads to the Strode home, where he murders Laurie's parents, Mason (Pat Skipper) and Cynthia (Dee Wallace). Dr. Loomis, having been alerted of Michael's escape, comes to Haddonfield looking for Michael. After obtaining a handgun, Loomis attempts to warn Sheriff Leigh Brackett (Brad Dourif) that Michael has returned to Haddonfield. Loomis and Brackett head to the Strode home, with Brackett explaining along the way that Laurie is really Michael's sister, having been adopted by the Strodes following their mother's suicide.

text: Meanwhile, Annie convinces Laurie to babysit Lindsey Wallace (Jenny Gregg Stewart), a girl Annie is supposed to be watching, so that she can meet with her boyfriend Paul (Max Van Ville). Annie and Paul return to the Wallace home and have sex; Michael kills Paul and attacks Annie. Bringing Lindsey home, Laurie finds Annie on the floor, badly hurt but still alive, and calls the police. Michael attacks Laurie and chases her back to the Doyle home. Loomis and Brackett hear the 911 call over the radio and head toward the Wallace residence.

text: Michael kidnaps Laurie and takes her back to their old home. He tries to show Laurie that she is his sister, presenting a picture of them with their mother. Unable to understand, Laurie stabs Michael with his own knife before escaping the house; Michael chases her, but Loomis arrives and shoots him. Recovering, Michael recaptures Laurie before she can leave and heads back to the house. Loomis again intervenes, but Michael subdues him. Laurie takes Loomis' gun and runs upstairs, but Michael corners her on a balcony and charges her head-on, knocking both of them over the railing. Laurie finds herself on top of an unconscious Michael. Aiming Loomis' gun at his face, she fires just as Michael awakens.

text: Production[edit]

text: On June 4, 2006, Dimension announced that Rob Zombie, director of House of 1000 Corpses and The Devil's Rejects, would be creating the next installment in the Halloween film series.[4] The plan was for Zombie to hold many positions in the production; he would write, direct, produce, and serve as music supervisor.[4] Bob Weinstein approached him about making the film. Zombie, who was a fan of the original Halloween and a friend of John Carpenter, jumped at the chance to make a Halloween film for Dimension Studios.[4] Before Dimension went public with the news, Zombie felt obligated to inform Carpenter, out of respect, of the plans to remake his film.[5] Carpenter's request was for Zombie to "make it his own".[3] During a June 16, 2006 interview, Zombie announced that his film would combine the elements of prequel and remake with the original concept, and insisted that there would be considerable original content in the new film as opposed to mere rehashed material.[6] The BBC reported that the new film would disregard the numerous sequels that followed Halloween.[7]

text: Zombie's intention was to reinvent Michael Myers because, in his opinion, the character, along with Freddy Krueger, Jason Voorhees, and Pinhead, had become more familiar to audiences, and as a result, less scary.[7][8] The idea behind the new film was to delve deeper into Michael's back story and add "new life" to the character.[6] Michael's mask will be given its own story, to provide an explanation as to why he wears it, instead of having the character simply steal a random mask from a hardware store, as in the original film.[9] Zombie explained that he wanted Michael to be true to what a psychopath really is, and wanted the mask to be a way for Michael to hide. He also wanted the young Michael to have charisma, which would be projected onto the adult Michael. In addition, he decided that Michael's motives for returning to Haddonfield would be more ambiguous, explaining, "[W]as he trying to kill Laurie, or just find her because he loves her?"[5]

text: Moreover, Michael would not be able to drive in the new film, unlike his 1978 counterpart who stole Loomis' car so that he could drive back to Haddonfield.[9] The Dr. Loomis character was also to be more intertwined with that of Michael; Zombie reasoned that the character's role in the original was "showing up merely to say something dramatic".[8] Although Zombie added more history to the Michael Myers character, hence creating more original content for the film, he chose to keep the character's trademark mask and Carpenter's theme song intact for his version (despite an apparent misinterpretation in an interview suggesting the theme would be ditched).[6] Production officially began on January 29, 2007.[10] Shortly before production began, Zombie reported that he had seen the first production of Michael's signature mask and commented, "It looks perfect, exactly like the original. Not since 1978 has The Shape looked so good".[11] Filming occurred in the same neighborhood that Carpenter used for the original Halloween.[9]

text: On December 19, 2006, Zombie announced to Bloody-Disgusting that Daeg Faerch would play the part of ten-year-old Michael Myers.[12] On December 22, 2006, Malcolm McDowell was officially announced to be playing Dr. Loomis.[13] McDowell stated that he wanted a tremendous ego in Loomis, who is out to get a new book from the ordeal.[9] On December 24, 2006, Zombie announced that Tyler Mane, who had previously worked with Zombie on The Devil's Rejects, would portray the adult Michael Myers.[14] Mane stated that it was very difficult to act only with his eyes.[15] Scout Taylor-Compton endured a long audition process, but as director Zombie explains, "Scout was my first choice. There was just something about her; she had a genuine quality. She didn't seem actor-y."[16] She was one of the final people to be cast for a lead role after Faerch, Mane, McDowell, Forsythe, and Harris.[17] A contest was held for a walk-on role in the film, at the time called Halloween 9; it was won by Heather Bowen.[18] She played a news reporter who covered Michael's arrest, but her scene was cut from the film and does not appear in the deleted scenes.[19]

text: Release[edit]

text: Approximately four days before the theatrical release of the film, a workprint version of Halloween appeared online and was circulated around various BitTorrent sites. Upon hearing of the leaked copy, Zombie stated that whatever version had been leaked was an older version of the film, unlike what was about to be released in theaters.[20] The leak of Zombie's workprint led to speculation that the film's box office success could be damaged, as director Eli Roth attributed the financial failure of his film, Hostel: Part II, to the leaking of a workprint version.[21] Dark Horizons webmaster Garth Franklin noted that watching the workprint allows a viewer to see what was changed after test screenings of the film in June 2007. For example, one particular scene—the rape of one of the Smith's Grove female inmates—was replaced in the final version.[22] Halloween was officially released on August 31, 2007, to 3,472 theaters in North America,[23] giving it the widest release of any of the previous Halloween films.[24]

text: Reception[edit]

text: Box office[edit]

text: On its opening day, Halloween grossed $10,896,610,[25] and immediately surpassed the opening weekend grosses for Halloween II (1981) at $7,446,508, Season of the Witch (1982) at $6,333,259, The Return of Michael Myers (1988) at $6,831,250, The Revenge of Michael Myers (1989) at $5,093,428, and The Curse of Michael Myers (1995) at $7,308,529.[24] From September 1–2, Halloween earned $8,554,661 and $6,911,096, respectively, for a 3-day opening weekend total of $26,362,367. The film would earn an additional $4,229,392 on Labor Day for a 4-day holiday weekend gross of $30,591,759,[25] making it the highest ever for that holiday.[26] As a result, the 2007 film would immediately surpass the total box office gross for Halloween II (1981) at $25,533,818, Halloween III (1982) at $14,400,000, Halloween 4 (1988) at $17,768,757, Halloween 5 (1989) at $11,642,254, The Curse of Michael Myers (1995) at $15,116,634, and Halloween: Resurrection (2002) with $30,354,442.[24]

text: Following its first Friday after its opening weekend, Halloween saw a 71.6% drop in attendance, earning $3,093,679.[25] The film, which earned the #1 spot at the box office in its opening weekend,[27] earned only $9,513,770 in its second weekend—a 63.9% decrease—but still claimed the #2 spot at the box office just behind 3:10 to Yuma.[28] The film continued to appear in the weekend top ten going into its third weekend, when it earned $4,867,522 to take sixth place.[29] It was not until the film's fourth weekend that it fell out of the top ten and into twelfth place with $2,189,266.[30] Halloween would fail to regain a top ten spot at the box office for the remainder of its theatrical run.[31]

text: Thanks to its opening weekend of $30.5 million, the film broke the box-office record for the Labor Day weekend, surpassing the record set in 2005 by Transporter 2 with $20.1 million.[32] It still currently resides as the top Labor Day weekend grosser.[33] Halloween was also the 8th highest-grossing R-rated film of 2007,[34] and finished out the year in 44th place for domestic box office gross.[35] With its $58 million box office gross, Halloween was the second highest-grossing film among the recent slasher remakes, taken over by A Nightmare on Elm Street (2010) with $63 million. However, it is third in the list which consists of When a Stranger Calls (2006) at $47.8 million, Black Christmas (2006) at $16.3 million, Prom Night (2008) at $43.8 million, My Bloody Valentine 3D (2009) with $51.4 million, and Friday the 13th (2009) leading the group with $60 million.[36] Halloween is also ranked eleventh overall when comparing it to all of the horror remakes,[37] as well as eighth place for all slasher films in general, in unadjusted dollars.[38]

text: In addition to the film's North American box office, it opened alongside Michael Clayton and Mr. Woodcock in foreign markets on the weekend of September 29, 2007. Halloween led the trio with a total of $1.3 million in 372 theaters – Michael Clayton and Mr. Woodcock took in $1.2 million from 295 screens and $1 million from 238 screens, respectively.[39] By November 1, 2007, Halloween had taken in an additional $7 million in foreign markets.[40] Ultimately, the film would earn approximately $21,981,879 overseas.[23] By the end of the film's theatrical run, the film had taken a worldwide total of $80,253,908.[41] Comparing this film to the rest of the films in the Halloween film series, Zombie's remake is the highest-grossing film in unadjusted US dollars.[24] When adjusting for the 2009 inflation,[42] Zombie's Halloween—which adjusts to $60.4 million domestically—is fourth, behind Carpenter's Halloween at $166.9 million, Halloween H20: 20 Years Later at $73.8 million, and Halloween II at $66.7 million.[43]

text: Critical response[edit]

text: Based on 109 reviews collected by Rotten Tomatoes, Halloween received an average 25% overall approval rating based on 110 reviews, with the consensus "Rob Zombie doesn't bring many new ideas to the table in Halloween, making it another bloody disappointment for fans of the franchise."[44] By comparison, Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, calculated a 47 out of 100 from the 18 reviews it collected.[45] CinemaScore polls reported that the average grade cinemagoers gave the film was "B-minus" on an A+ to F scale; it also reported that 62% of the audience was male, with 57% being 25 years or older.[46]

text: Peter Hartlaub, of the San Francisco Chronicle, felt Zombie was successful in both "[putting] his own spin on Halloween, while at the same time paying tribute to Carpenter's film"; he thought Zombie managed to make Michael Myers almost "sympathetic" as a child, but that the last third of the film felt more like a montage of scenes with Halloween slipping into "slasher-film logic".[47] Nathan Lee of The Village Voice disagreed in part with Harlaub, feeling that Halloween may have placed too much emphasis on providing sympathy for Michael Myers, but that it succeeded in "[deepening] Carpenter's vision without rooting out its fear".[48] The film critic Matthew Turner believed the first half of the film, which featured the prequel elements of Michael as a child, were better played than the remake elements of the second half. In short, Turner stated that performances from the cast were "superb", with Malcolm McDowell being perfectly cast as Dr. Loomis, but that the film lacked the scare value of Carpenter’s original.[49] Jamie Russell from the BBC agreed that the first half of the film worked better than the last half; she stated that Zombie’s expanded backstory on Michael was "surprisingly effective"—also agreeing that McDowell was perfectly cast as Loomis—but that Zombie failed to deliver the "supernatural dread" that Carpenter created for Michael in his 1978 original.[50]

text: New York Daily News critic Jack Matthews believed the film lacked tension, and went more for cheap shocks—focusing more on enhancing the "imagery of violence"—than real attempts to scare the audience; he gave the film one and a half stars out of five.[51] Dennis Harvey, from Variety magazine, echoed Matthew's opinion that the film failed to deliver on the suspense; he also felt that you could not tell one teenage character from the next, whereas in Carpenter's original each teenager had real personalities.[52] In contrast, Rossiter Drake of The Examiner applauded Michael's backstory, feeling that it was a "compelling take on the mythology" that managed to be "unique" and "shocking" at the same time.[53] In agreement with other critics, Empire magazine's Kim Newman felt that, because Zombie seemed less focused on the teenagers being stalked and killed by Michael, the film "[fell] flat" when it came to delivering suspense or anything "remotely scary"; Newman did praise McDowell for his portrayal of the "dogged psychiatrist".[54] Ben Walter, of Time Out London, felt Zombie added "surprising realism" to the development of Michael Myers’ psychopathic actions, but agreed with Newman that the director replaced the original film’s "suspense and playfulness" with a convincing display of "black-blooded brutality".[55]

text: Frank Scheck, of the Hollywood Reporter, believed that even though Zombie's remake of Carpenter's Halloween was better than getting another sequel in the long running franchise it still was not comparable to the 1978 original. For Scheck, Zombie replaced Carpenter's building suspense, which made it so "brilliant", with graphic violence and extended scenes of nudity; he also criticized McDowell for lacking the intensity that Donald Pleasence brought to the Loomis character.[56] By contrast, TV Guide's Ken Fox felt that Zombie did deliver a "scary horror movie", not by copying Carpenter, but by making the film his own. Fox noted that Zombie seemed to follow more in the footsteps of Wes Craven and Tobe Hooper's "savage, greasy-haired '70s" films, which allowed him to bring Michael back to his roots and successfully terrify an audience which has grown accustomed to the recent "torture porn" horror films.[57] Bill Gibron, of PopMatters, believes that audiences and critics cannot compare Carpenter's film to Zombie's remake; where Carpenter focused more on the citizens of Haddonfield—with Michael acting as a true "boogeyman"—Zombie focuses more on Michael himself, successfully forcing the audience to experience all of the elements that Michael went through that would result in his "desire for death".[58]

text: Halloween won the Rondo Hatton Classic Horror Award for Best Film of 2007, drawing in 550 votes, the most ever in the history of the award.[59] The film also won the 'Best Remake Award' at the 2008 Spike TV Scream Awards.[60] Dan Mathews, vice president of PETA, sent Rob Zombie a thank-you letter for what he perceived as Zombie sending a message to audiences when he depicted the young Michael Myers torturing animals, something he felt demonstrated that people who commit acts of cruelty to animals are likely to move on to humans. Mathews went on to say, "Hopefully, with the attention focused by your movie on the link between cruelty to animals and human violence, more people will recognize the warning signs among people they know and deal with them more forcefully. We wish you continued success!"[61]

text: Home media[edit]

text: The film's soundtrack was released on August 21, 2007; it includes 24 tracks, consisting of 12 dialogue tracks and 12 instrumentals. The album contained both new tracks, as well as ones recycled from the original Halloween and its sequel. Tyler Bates' interpretation of John Carpenter's original Halloween theme is the first musical track, with "(Don't Fear) The Reaper," which appeared in the original Halloween, and "Mr. Sandman", which appeared in Halloween II and Halloween H20: 20 Years Later, performed by Nan Vernon.[62] Writing about its selection from the 1981 film, one reviewer for the BBC commented that it worked well to "mimic Laurie’s situation (sleeping a lot)", making "the once innocent sounding lyrics seem threatening in a horror film".[63] The album also includes Kiss's "God of Thunder", Rush's "Tom Sawyer", Alice Cooper's "Only Women Bleed", Peter Frampton's "Baby, I Love Your Way", Nazareth's "Love Hurts", Bachman–Turner Overdrive's "Let It Ride", Misfits' "Halloween II", and an Iggy Pop live version of The Stooges' "1969" among others.[64]

text: On December 18, 2007, the film was released on DVD in the United States; both the theatrical (110 minutes) and an unrated director's cut (121 minutes) were released as two-disc special editions containing identical bonus features.[65] The film was released on DVD in the UK on April 28, 2008, known as the "Uncut" edition.[66] On October 7, 2008, a three-disc set was released.[67] This Collector's Edition of Halloween features the same bonus features as the previous unrated edition, but includes Zombie's four-and-a-half-hour "making-of" documentary similar to the "30 Days in Hell" documentary for Zombie's The Devil's Rejects.[67]


document_title: Entrepreneurship

question_text: who introduced the term entrepreneur first in economics

question_tokens: who introduced the term entrepreneur first in economics

text: Entrepreneurship

text: Elements[edit]

text: Entrepreneurship is the act of being an entrepreneur, or "the owner or manager of a business enterprise who, by risk and initiative, attempts to make profits".[6] Entrepreneurs act as managers and oversee the launch and growth of an enterprise. Entrepreneurship is the process by which either an individual or a team identifies a business opportunity and acquires and deploys the necessary resources required for its exploitation. Early 19th century French economist Jean-Baptiste Say provided a broad definition of entrepreneurship, saying that it "shifts economic resources out of an area of lower and into an area of higher productivity and greater yield". Entrepreneurs create something new, something different—they change or transmute values.[7] Regardless of the firm size, big or small, they can partake in entrepreneurship opportunities. The opportunity to become an entrepreneur requires four criteria. First, there must be opportunities or situations to recombine resources to generate profit. Second, entrepreneurship requires differences between people, such as preferential access to certain individuals or the ability to recognize information about opportunities. Third, taking on risk is a necessary. Fourth, the entrepreneurial process requires the organization of people and resources.[8]

text: The entrepreneur is a factor in and the study of entrepreneurship reaches back to the work of Richard Cantillon and Adam Smith in the late 17th and early 18th centuries. However, entrepreneurship was largely ignored theoretically until the late 19th and early 20th centuries and empirically until a profound resurgence in business and economics since the late 1970s. In the 20th century, the understanding of entrepreneurship owes much to the work of economist Joseph Schumpeter in the 1930s and other Austrian economists such as Carl Menger, Ludwig von Mises and Friedrich von Hayek. According to Schumpeter, an entrepreneur is a person who is willing and able to convert a new idea or invention into a successful innovation. Entrepreneurship employs what Schumpeter called "the gale of creative destruction" to replace in whole or in part inferior innovations across markets and industries, simultaneously creating new products including new business models. In this way, creative destruction is largely responsible for the dynamism of industries and long-run economic growth. The supposition that entrepreneurship leads to economic growth is an interpretation of the residual in endogenous growth theory and as such is hotly debated in academic economics. An alternate description posited by Israel Kirzner suggests that the majority of innovations may be much more incremental improvements such as the replacement of paper with plastic in the making of drinking straws.

text: The exploitation of entrepreneurial opportunities may include:[9]

text:
Developing a business plan
Hiring the human resources
Acquiring financial and material resources
Providing leadership
Being responsible for both the venture's success or failure
Risk aversion

text: Economist Joseph Schumpeter (1883–1950) saw the role of the entrepreneur in the economy as "creative destruction" – launching innovations that simultaneously destroy old industries while ushering in new industries and approaches. For Schumpeter, the changes and "dynamic disequilibrium brought on by the innovating entrepreneur [were] the norm of a healthy economy".[10] While entrepreneurship is often associated with new, small, for-profit start-ups, entrepreneurial behavior can be seen in small-, medium- and large-sized firms, new and established firms and in for-profit and not-for-profit organizations, including voluntary-sector groups, charitable organizations and government.[11]

text: Entrepreneurship may operate within an entrepreneurship ecosystem which often includes:

text:
Government programs and services that promote entrepreneurship and support entrepreneurs and start-ups
Non-governmental organizations such as small-business associations and organizations that offer advice and mentoring to entrepreneurs (e.g. through entrepreneurship centers or websites)
Small-business advocacy organizations that lobby governments for increased support for entrepreneurship programs and more small business-friendly laws and regulations
Entrepreneurship resources and facilities (e.g. business incubators and seed accelerators)
Entrepreneurship education and training programs offered by schools, colleges and universities
Financing (e.g. bank loans, venture capital financing, angel investing and government and private foundation grants)[12][need quotation to verify]

text: In the 2000s, usage of the term "entrepreneurship" expanded to include how and why some individuals (or teams) identify opportunities, evaluate them as viable, and then decide to exploit them.[13] The term has also been used to discuss how people might use these opportunities to develop new products or services, launch new firms or industries, and create wealth.[14] The entrepreneurial process is uncertain because opportunities can only be identified after they have been exploited.[15]

text: Entrepreneurs tend exhibit positive biases towards finding new possibilities and seeing unmet market needs, and a tendency towards risk-taking that makes them more likely to exploit business opportunities.[16][17]

text: History[edit]

text: Historical usage[edit]

text: "Entrepreneur" (/ˌɒ̃trəprəˈnɜːr, -njʊər/ ( listen), UK also /-prɛ-/) is a loanword from French. The word first appeared in the French dictionary entitled Dictionnaire Universel de Commerce compiled by Jacques des Bruslons and published in 1723.[20] Especially in Britain, the term "adventurer" was often used to denote the same meaning.[21] The study of entrepreneurship reaches back to the work in the late 17th and early 18th centuries of Irish-French economist Richard Cantillon, which was foundational to classical economics. Cantillon defined the term first in his Essai sur la Nature du Commerce en Général, or Essay on the Nature of Trade in General, a book William Stanley Jevons considered the "cradle of political economy".[22][23] Cantillon defined the term as a person who pays a certain price for a product and resells it at an uncertain price, "making decisions about obtaining and using the resources while consequently admitting the risk of enterprise". Cantillon considered the entrepreneur to be a risk taker who deliberately allocates resources to exploit opportunities in order to maximize the financial return.[24][25] Cantillon emphasized the willingness of the entrepreneur to assume the risk and to deal with uncertainty, thus he drew attention to the function of the entrepreneur and distinguished between the function of the entrepreneur and the owner who provided the money.[24][26]

text: Jean-Baptiste Say also identified entrepreneurs as a driver for economic development, emphasizing their role as one of the collecting factors of production allocating resources from less to fields that are more productive. Both Say and Cantillon belonged to French school of thought and known as the physiocrats. [27]

text: Dating back to the time of the medieval guilds in Germany, a craftsperson required special permission to operate as an entrepreneur, the small proof of competence (Kleiner Befähigungsnachweis), which restricted training of apprentices to craftspeople who held a Meister certificate. This institution was introduced in 1908 after a period of so-called freedom of trade (Gewerbefreiheit, introduced in 1871) in the German Reich. However, proof of competence was not required to start a business. In 1935 and in 1953, greater proof of competence was reintroduced (Großer Befähigungsnachweis Kuhlenbeck), which required craftspeople to obtain a Meister apprentice-training certificate before being permitted to set up a new business.[28]

text: 20th century[edit]

text: In the 20th century, entrepreneurship was studied by Joseph Schumpeter in the 1930s and other Austrian economists such as Carl Menger, Ludwig von Mises and Friedrich von Hayek. While the loan from French of the word "entrepreneur" dates to the 1850, the term "entrepreneurship" was coined around the 1920s. According to Schumpeter, an entrepreneur is willing and able to convert a new idea or invention into a successful innovation.[29] Entrepreneurship employs what Schumpeter called "the gale of creative destruction" to replace in whole or in part inferior offerings across markets and industries, simultaneously creating new products and new business models, thus creative destruction is largely responsible for long-term economic growth. The idea that entrepreneurship leads to economic growth is an interpretation of the residual in endogenous growth theory[clarification needed] and as such continues to be debated in academic economics. An alternate description by Israel Kirzner suggests that the majority of innovations may be incremental improvements such as the replacement of paper with plastic in the construction of a drinking straw that require no special qualities.

text: For Schumpeter, entrepreneurship resulted in new industries and in new combinations of currently existing inputs. Schumpeter's initial example of this was the combination of a steam engine and then current wagon making technologies to produce the horseless carriage. In this case, the innovation (i.e. the car) was transformational, but did not require the development of dramatic new technology. It did not immediately replace the horse-drawn carriage, but in time incremental improvements reduced the cost and improved the technology, leading to the modern auto industry. Despite Schumpeter's early 20th-century contributions, the traditional microeconomic theory did not formally consider the entrepreneur in its theoretical frameworks (instead of assuming that resources would find each other through a price system). In this treatment, the entrepreneur was an implied but unspecified actor, consistent with the concept of the entrepreneur being the agent of x-efficiency.

text: For Schumpeter, the entrepreneur did not bear risk: the capitalist did. Schumpeter believed that the equilibrium was imperfect. Schumpeter (1934) demonstrated that the changing environment continuously provides new information about the optimum allocation of resources to enhance profitability. Some individuals acquire the new information before others and recombine the resources to gain an entrepreneurial profit. Schumpeter was of the opinion that entrepreneurs shift the production possibility curve to a higher level using innovations.[30]

text: Initially, economists made the first attempt to study the entrepreneurship concept in depth.[31] Alfred Marshall viewed the entrepreneur as a multi-tasking capitalist and observed that in the equilibrium of a completely competitive market there was no spot for "entrepreneurs" as an economic activity creator.[32]

text: 21st Century[edit]

text: In the 2000s, entrepreneurship has been extended from its origins in for-profit businesses to include social entrepreneurship, in which business goals are sought alongside social, environmental or humanitarian goals and even the concept of the political entrepreneur.[according to whom?] Entrepreneurship within an existing firm or large organization has been referred to as intrapreneurship and may include corporate ventures where large entities "spin-off" subsidiary organizations.[33]

text: Entrepreneurs are leaders willing to take risk and exercise initiative, taking advantage of market opportunities by planning, organizing and deploying resources,[34] often by innovating to create new or improving existing products or services.[35] In the 2000s, the term "entrepreneurship" has been extended to include a specific mindset resulting in entrepreneurial initiatives, e.g. in the form of social entrepreneurship, political entrepreneurship or knowledge entrepreneurship.

text: According to Paul Reynolds, founder of the Global Entrepreneurship Monitor, "by the time they reach their retirement years, half of all working men in the United States probably have a period of self-employment of one or more years; one in four may have engaged in self-employment for six or more years. Participating in a new business creation is a common activity among U.S. workers over the course of their careers".[36] In recent years, entrepreneurship has been claimed as a major driver of economic growth in both the United States and Western Europe.

text: Entrepreneurial activities differ substantially depending on the type of organization and creativity involved. Entrepreneurship ranges in scale from solo, part-time projects to large-scale undertakings that involve a team and which may create many jobs. Many "high value" entrepreneurial ventures seek venture capital or angel funding (seed money) in order to raise capital for building and expanding the business.[37] Many organizations exist to support would-be entrepreneurs, including specialized government agencies, business incubators (which may be for-profit, non-profit, or operated by a college or university), science parks and non-governmental organizations, which include a range of organizations including not-for-profits, charities, foundations and business advocacy groups (e.g. Chambers of commerce). Beginning in 2008, an annual "Global Entrepreneurship Week" event aimed at "exposing people to the benefits of entrepreneurship" and getting them to "participate in entrepreneurial-related activities" was launched.[who?]

text: Relationship between small business and entrepreneurship[edit]

text: The term "entrepreneur" is often conflated with the term "small business" or used interchangeably with this term. While most entrepreneurial ventures start out as a small business, not all small businesses are entrepreneurial in the strict sense of the term. Many small businesses are sole proprietor operations consisting solely of the owner—or they have a small number of employees—and many of these small businesses offer an existing product, process or service and they do not aim at growth. In contrast, entrepreneurial ventures offer an innovative product, process or service and the entrepreneur typically aims to scale up the company by adding employees, seeking international sales and so on, a process which is financed by venture capital and angel investments. In this way, the term "entrepreneur" may be more closely associated with the term "startup". Successful entrepreneurs have the ability to lead a business in a positive direction by proper planning, to adapt to changing environments and understand their own strengths and weakness.[38]

text: Types of entrepreneurs[edit]

text: Ethnic[edit]

text: The term "ethnic entrepreneurship" refers to self-employed business owners who belong to racial or ethnic minority groups in the United States and Europe. A long tradition of academic research explores the experiences and strategies of ethnic entrepreneurs as they strive to integrate economically into mainstream U.S. or European society. Classic cases include Jewish merchants and tradespeople in large U.S. cities in the 19th and early 20th centuries as well as Chinese and Japanese small business owners (restaurants, farmers, shop owners) on the West Coast.[39] In the 2010s, ethnic entrepreneurship has been studied in the case of Cuban business owners in Miami, Indian motel owners of the U.S. and Chinese business owners in Chinatowns across the United States. While entrepreneurship offers these groups many opportunities for economic advancement, self-employment and business ownership in the United States remain unevenly distributed along racial/ethnic lines.[40] Despite numerous success stories of Asian entrepreneurs, a recent statistical analysis of U.S. census data shows that whites are more likely than Asians, African-Americans and Latinos to be self-employed in high prestige, lucrative industries.[40]

text: Institutional[edit]

text: The American-born British economist Edith Penrose has highlighted the collective nature of entrepreneurship. She mentions that in modern organizations, human resources need to be combined in order to better capture and create business opportunities.[41] The sociologist Paul DiMaggio (1988:14) has expanded this view to say that "new institutions arise when organized actors with sufficient resources [institutional entrepreneurs] see in them an opportunity to realize interests that they value highly".[42] The notion has been widely applied.[43][44][45][46]

text: Cultural[edit]

text: According to Christopher Rea and Nicolai Volland, cultural entrepreneurship is "practices of individual and collective agency characterized by mobility between cultural professions and modes of cultural production", which refers to creative industry activities and sectors. In their book The Business of Culture (2015), Rea and Volland identify three types of cultural entrepreneur: "cultural personalities", defined as "individuals who buil[d] their own personal brand of creativity as a cultural authority and leverage it to create and sustain various cultural enterprises"; "tycoons", defined as "entrepreneurs who buil[d] substantial clout in the cultural sphere by forging synergies between their industrial, cultural, political, and philanthropic interests"; and "collective enterprises", organizations which may engage in cultural production for profit or not-for-profit purposes.[47]

text: Feminist[edit]

text: A feminist entrepreneur is an individual who applies feminist values and approaches through entrepreneurship, with the goal of improving the quality of life and well-being of girls and women.[48] Many are doing so by creating "for women, by women" enterprises. Feminist entrepreneurs are motivated to enter commercial markets by desire to create wealth and social change, based on the ethics of cooperation, equality and mutual respect.[49][50]

text: Social[edit]

text: Social entrepreneurship is the use of the by start up companies and other entrepreneurs to develop, fund and implement solutions to social, cultural, or environmental issues.[51] This concept may be applied to a variety of organizations with different sizes, aims, and beliefs.[52] For-profit entrepreneurs typically measure performance using business metrics like profit, revenues and increases in stock prices, but social entrepreneurs are either non-profits or blend for-profit goals with generating a positive "return to society" and therefore must use different metrics. Social entrepreneurship typically attempts to further broad social, cultural, and environmental goals often associated with the voluntary sector[53] in areas such as poverty alleviation, health care and community development. At times, profit-making social enterprises may be established to support the social or cultural goals of the organization but not as an end in itself. For example, an organization that aims to provide housing and employment to the homeless may operate a restaurant, both to raise money and to provide employment for the homeless.

text: Nascent[edit]

text: A nascent entrepreneur is someone in the process of establishing a business venture.[54]. In this observation, the nascent entrepreneur can be seen as pursuing an opportunity, i.e. a possibility to introduce new services or products, serve new markets, or develop more efficient production methods in a profitable manner [55] [56]. But before such a venture is actually established, the opportunity is just a venture idea[57]. In other words, the pursued opportunity is perceptual in nature, propped by the nascent entrepreneur’s personal beliefs about the feasibility of the venturing outcomes the nascent entrepreneur seeks to achieve[58][59][60]. Its prescience and value cannot be confirmed ex ante but only gradually, in the context of the actions that the nascent entrepreneur undertakes towards establishing the venture,[61]. Ultimately, these actions can lead to a path that the nascent entrepreneur deems no longer attractive or feasible, or result in the emergence of a (viable) business. In this sense, over time, the nascent venture can move towards being discontinued or towards emerging successfully as an operating entity.

text: The distinction between the novice, serial and portfolio entrepreneurs is an example of behavior-based categorization[62]. Other examples are the (related) studies by[63],[64] on start-up event sequences.  Nascent entrepreneurship that emphasizes the series of activities involved in new venture emergence[65],[66],[67] rather than the solitary act of exploiting an opportunity. Such research will help separate entrepreneurial action into its basic sub-activities and elucidate the inter- relationships between activities, between an activity (or sequence of activities) and an individual’s motivation to form an opportunity belief, and between an activity (or sequence of activities) and the knowledge needed to form an opportunity belief. With this research, scholars will be able to begin constructing a theory of the micro-foundations of entrepreneurial action.

text: Scholars interested in nascent entrepreneurship tend to focus less on the single act of opportunity exploitation and more on the series of actions in new venture emergence[68],[69],[70]. Indeed, nascent entrepreneurs undertake numerous entrepreneurial activities, including actions that make their businesses more concrete to themselves and others. For instance, nascent entrepreneurs often look for and purchase facilities and equipment; seek and obtain financial backing, form legal entities, organize teams; and dedicate all their time and energy to their business[71]

text: Project-based[edit]

text: Project entrepreneurs are individuals who are engaged in the repeated assembly or creation of temporary organizations.[72] These are organizations that have limited lifespans which are devoted to producing a singular objective or goal and get disbanded rapidly when the project ends. Industries where project-based enterprises are widespread include: sound recording, film production, software development, television production, new media and construction.[73] What makes project-entrepreneurs distinctive from a theoretical standpoint is that they have to "rewire" these temporary ventures and modify them to suit the needs of new project opportunities that emerge. A project entrepreneur who used a certain approach and team for one project may have to modify the business model or team for a subsequent project.

text: Project entrepreneurs are exposed repeatedly to problems and tasks typical of the entrepreneurial process.[74] Indeed, project-entrepreneurs face two critical challenges that invariably characterize the creation of a new venture: locating the right opportunity to launch the project venture and assembling the most appropriate team to exploit that opportunity. Resolving the first challenge requires project-entrepreneurs to access an extensive range of information needed to seize new investment opportunities. Resolving the second challenge requires assembling a collaborative team that has to fit well with the particular challenges of the project and has to function almost immediately to reduce the risk that performance might be adversely affected. Another type of project entrepreneurship involves entrepreneurs working with business students to get analytical work done on their ideas.

text: Millennial[edit]

text: The term "millennial entrepreneur" refers to a business owner who is affiliated with the generation that was brought up using digital technology and mass media—the products of Baby Boomers, those people born during the 1980s and early 1990s. Also known as Generation Y, these business owners are well equipped with knowledge of new technology and new business models and have a strong grasp of its business applications. There have been many breakthrough businesses that have come from millennial entrepreneurs such as Mark Zuckerberg, who created Facebook.[75][76] Despite the expectation of millennial success, there have been recent studies that have proven this to not be the case.  The comparison between millennials who are self-employed and those who are not self-employed shows that the latter is higher. The reason for this is because they have grown up in a different generation and attitude than their elders. Some of the barriers to entry for entrepreneurs are the economy, debt from schooling and the challenges of regulatory compliance.[77]

text: Entrepreneurial Behaviors[edit]

text: The entrepreneur is commonly seen as an innovator—a designer of new ideas and business processes.[78] Management skills and strong team building abilities are often perceived as essential leadership attributes for successful entrepreneurs.[79] Political economist Robert Reich considers leadership, management ability and team-building to be essential qualities of an entrepreneur.[80][81]

text: Uncertainty perception and risk-taking[edit]

text: Theorists Frank Knight[82] and Peter Drucker defined entrepreneurship in terms of risk-taking. The entrepreneur is willing to put his or her career and financial security on the line and take risks in the name of an idea, spending time as well as capital on an uncertain venture. However, entrepreneurs often do not believe that they have taken an enormous amount of risks because they do not perceive the level of uncertainty to be as high as other people do. Knight classified three types of uncertainty:

text:
Risk, which is measurable statistically (such as the probability of drawing a red color ball from a jar containing five red balls and five white balls)
Ambiguity, which is hard to measure statistically (such as the probability of drawing a red ball from a jar containing five red balls but an unknown number of white balls)
True uncertainty or Knightian uncertainty, which is impossible to estimate or predict statistically (such as the probability of drawing a red ball from a jar whose contents, in terms of numbers of coloured balls, are entirely unknown)

text: Entrepreneurship is often associated with true uncertainty, particularly when it involves the creation of a novel good or service, for a market that did not previously exist, rather than when a venture creates an incremental improvement to an existing product or service. A 2014 study at ETH Zürich found that compared with typical managers, entrepreneurs showed higher decision-making efficiency and a stronger activation in regions of frontopolar cortex (FPC) previously associated with explorative choice.[83]

text: "Coachability" and advice taking[edit]

text: The ability of entrepreneurs to work closely with and take advice from early investors and other partners (i.e. their coachability) has long been considered a critical factor in entrepreneurial success.[84] At the same time, economists have argued that entrepreneurs should not simply act on all advice given to them, even when that advice comes from well-informed sources, because entrepreneurs possess far deeper and richer local knowledge about their own firm than any outsider. Indeed, measures of coachability are not actually predictive of entrepreneurial success (e.g. measured as success in subsequent funding rounds, acquisitions, pivots and firm survival). This research also shows that older and larger founding teams, presumably those with more subject expertise, are less coachable than younger and smaller founding teams.

text: Strategies[edit]

text: Strategies that entrepreneurs may use include:

text:
Innovation of new products, services or processes[85]
Continuous process improvement (CPI)[85]
Exploration of new business models
Use of technology[85]
Use of business intelligence
Use of economical strategics
Development of future products and services[85]
Optimized talent management[85]

text: Designing individual/opportunity nexus[edit]

text: According to Shane and Venkataraman, entrepreneurship comprises both "enterprising individuals" and "entrepreneurial opportunities", so researchers should study the nature of the individuals who identify opportunities when others do not, the opportunities themselves and the nexus between individuals and opportunities.[86] On the other hand, Reynolds et al.[87] argue that individuals are motivated to engage in entrepreneurial endeavors driven mainly by necessity or opportunity, that is individuals pursue entrepreneurship primarily owing to survival needs, or because they identify business opportunities that satisfy their need for achievement. For example, higher economic inequality tends to increase entrepreneurship rates at the individual level, suggesting that most entrepreneurial behavior is based on necessity rather than opportunity.[88]

text: Opportunity perception and biases[edit]

text: The ability of entrepreneurs to innovate relates to innate traits, including extroversion and a proclivity for risk-taking.[89] According to Joseph Schumpeter, the capabilities of innovating, introducing new technologies, increasing efficiency and productivity, or generating new products or services, are characteristic qualities of entrepreneurs.[90] One study has found that certain genes affecting personality may influence the income of self-employed people.[91] Some people may be able to use[weasel words] "an innate ability" or quasi-statistical sense to gauge public opinion[92] and market demand for new products or services. Entrepreneurs tend to have the ability to see unmet market needs and underserved markets. While some entrepreneurs assume they can sense and figure out what others are thinking, the mass media plays a crucial role in shaping views and demand.[93] Ramoglou argues that entrepreneurs are not that distinctive and that it is essentially poor conceptualizations of "non-entrepreneurs" that maintain laudatory portraits of "entrepreneurs" as exceptional innovators or leaders [94][95] Entrepreneurs are often overconfident, exhibit illusion of control, when they are opening/expanding business or new products/services.[16]

text: Styles[edit]

text: Differences in entrepreneurial organizations often partially reflect their founders' heterogenous identities. Fauchart and Gruber have classified entrepreneurs into three main types: Darwinians, communitarians and missionaries. These types of entrepreneurs diverge in fundamental ways in their self-views, social motivations and patterns of new firm creation.[96]

text: Communication[edit]

text: Entrepreneurs need to practice effective communication both within their firm and with external partners and investors in order to launch and growth a venture and enable it to survive. An entrepreneur needs a communication system that links the staff of her firm and connects the firm to outside firms and clients. Entrepreneurs should be charismatic leaders, so they can communicate a vision effectively to their team and help to create a strong team. Communicating a vision to followers may be well the most important act of the transformational leader.[97] Compelling visions provide employees with a sense of purpose and encourage commitment. According to Baum et al.[98] and Kouzes and Posner,[99] the vision must be communicated through written statements and through in-person communication. Entrepreneurial leaders must speak and listen to articulate their vision to others.[100]

text: Communication is pivotal in the role of entrepreneurship because it enables leaders to convince potential investors, partners and employees about the feasibility of a venture.[101] Entrepreneurs need to communicate effectively to shareholders.[102] Nonverbal elements in speech such as the tone of voice, the look in the sender's eyes, body language, hand gestures and state of emotions are also important communication tools. The Communication Accommodation Theory posits that throughout communication people will attempt to accommodate or adjust their method of speaking to others.[103] Face Negotiation Theory describes how people from different cultures manage conflict negotiation in order to maintain "face".[104] Hugh Rank's "intensify and downplay" communications model can be used by entrepreneurs who are developing a new product or service. Rank argues that entrepreneurs need to be able to intensify the advantages of their new product or service and downplay the disadvantages in order to persuade others to support their venture.[105]

text: Links to sea piracy[edit]

text: Research from 2014 found links between entrepreneurship and historical sea piracy. In this context, the claim is made for a non-moral approach to looking at the history of piracy as a source of inspiration for entrepreneurship education[106] as well as for research in entrepreneurship[107] and business model generation.[108]

text: Psychological makeup[edit]

text: Stanford University economist Edward Lazear found in a 2005 study that variety in education and work experience was the most important trait that distinguished entrepreneurs from non-entrepreneurs[109] A 2013 study by Uschi Backes-Gellner of the University of Zurich and Petra Moog of the University of Siegen in Germany found that a diverse social network was also important in distinguishing students that would go on to become entrepreneurs.[110][111]

text: Studies show that the psychological propensities for male and female entrepreneurs are more similar than different. Empirical studies suggest that female entrepreneurs possess strong negotiating skills and consensus-forming abilities.[112] Asa Hansson, who looked at empirical evidence from Sweden, found that the probability of becoming self-employed decreases with age for women, but increases with age for men.[113] She also found that marriage increased the probability of a person becoming an entrepreneur.[113]

text: Jesper Sørensen wrote that significant influences on the decision to become an entrepreneur are workplace peers and social composition. Sørensen discovered a correlation between working with former entrepreneurs and how often these individuals become entrepreneurs themselves, compared to those who did not work with entrepreneurs.[114] Social composition can influence entrepreneurialism in peers by demonstrating the possibility for success, stimulating a "He can do it, why can't I?" attitude. As Sørensen stated: "When you meet others who have gone out on their own, it doesn't seem that crazy".[115]

text: Entrepreneurs may also be driven to entrepreneurship by past experiences. If they have faced multiple work stoppages or have been unemployed in the past, the probability of them becoming an entrepreneur increases[113] Per Cattell's personality framework, both personality traits and attitudes are thoroughly investigated by psychologists. However, in case of entrepreneurship research these notions are employed by academics too, but vaguely. According to Cattell, personality is a system that is related to the environment and further adds that the system seeks explanation to the complex transactions conducted by both—traits and attitudes. This is because both of them bring about change and growth in a person. Personality is that which informs what an individual will do when faced with a given situation. A person's response is triggered by his/her personality and the situation that is faced.[116]

text: Innovative entrepreneurs may be more likely to experience what psychologist Mihaly Csikszentmihalyi calls "flow". "Flow" occurs when an individual forgets about the outside world due to being thoroughly engaged in a process or activity. Csikszentmihalyi suggested that breakthrough innovations tend to occur at the hands of individuals in that state.[117] Other research has concluded that a strong internal motivation is a vital ingredient for breakthrough innovation.[118] Flow can be compared to Maria Montessori's concept of normalization, a state that includes a child's capacity for joyful and lengthy periods of intense concentration.[119] Csikszentmihalyi acknowledged that Montessori's prepared environment offers children opportunities to achieve flow.[120] Thus quality and type of early education may influence entrepreneurial capability.

text: Research on high-risk settings such as oil platforms, investment banking, medical surgery, aircraft piloting and nuclear power plants has related distrust to failure avoidance.[121] When non-routine strategies are needed, distrusting persons perform better while when routine strategies are needed trusting persons perform better. This research was extended to entrepreneurial firms by Gudmundsson and Lechner.[122] They argued that in entrepreneurial firms the threat of failure is ever present resembling non-routine situations in high-risk settings. They found that the firms of distrusting entrepreneurs were more likely to survive than the firms of optimistic or overconfident entrepreneurs. The reasons were that distrusting entrepreneurs would emphasize failure avoidance through sensible task selection and more analysis. Kets de Vries has pointed out that distrusting entrepreneurs are more alert about their external environment.[123] He concluded that distrusting entrepreneurs are less likely to discount negative events and are more likely to engage control mechanisms. Similarly, Gudmundsson and Lechner found that distrust leads to higher precaution and therefore increases chances of entrepreneurial firm survival.

text: Researchers Schoon and Duckworth completed a study in 2012 that could potentially help identify who may become an entrepreneur at an early age. They determined that the best measures to identify a young entrepreneur are family and social status, parental role modeling, entrepreneurial competencies at age 10, academic attainment at age 10, generalized self-efficacy, social skills, entrepreneurial intention and experience of unemployment.[124]

text: Strategic[edit]

text: Some scholars have constructed an operational definition of a more specific subcategory called "Strategic Entrepreneurship". Closely tied with principles of strategic management, this form of entrepreneurship is "concerned about growth, creating value for customers and subsequently creating wealth for owners".[125] A 2011 article for the Academy of Management provided a three-step, "Input-Process-Output" model of strategic entrepreneurship. The model's three steps entail the collection of different resources, the process of orchestrating them in the necessary manner and the subsequent creation of competitive advantage, value for customers, wealth and other benefits. Through the proper use of strategic management/leadership techniques and the implementation of risk-bearing entrepreneurial thinking, the strategic entrepreneur is therefore able to align resources to create value and wealth.[125]

text: Leadership[edit]

text: Leadership in entrepreneurship can be defined as "process of social influence in which one person can enlist the aid and support of others in the accomplishment of a common task"[126] in "one who undertakes innovations, finance and business acumen in an effort to transform innovations into economic goods".[8] This refers to not only the act of entrepreneurship as managing or starting a business, but how one manages to do so by these social processes, or leadership skills. Entrepreneurship in itself can be defined as "the process by which individuals, teams, or organizations identify and pursue entrepreneurial opportunities without being immediately constrained by the resources they currently control".[127] An entrepreneur typically has a mindset that seeks out potential opportunities during uncertain times.[127] An entrepreneur must have leadership skills or qualities  to see potential opportunities and act upon them. At the core, an entrepreneur is a decision maker. Such decisions often affect an organization as a whole, which is representative of their leadership amongst the organization.

text: With the growing global market and increasing technology use throughout all industries, the core of entrepreneurship and the decision-making has become an ongoing process rather than isolated incidents. This becomes knowledge management which is "identifying and harnessing intellectual assets" for organizations to "build on past experiences and create new mechanisms for exchanging and creating knowledge".[128] This belief draws upon a leader's past experiences that may prove useful. It is a common mantra for one to learn from their past mistakes, so leaders should take advantage of their failures for their benefit. This is how one may take their experiences as a leader for the use in the core of entrepreneurship-decision making.

text: Global leadership[edit]

text: The majority of scholarly research done on these topics have been from North America.[129] Words like "leadership" and "entrepreneurship" do not always translate well into other cultures and languages. For example, in North America a leader is often thought to be charismatic, but German culture frowns on such charisma due to the charisma of Nazi leader Adolph Hitler. Other cultures, like some European countries, view the term "leader" negatively, like the French.[130] The participative leadership style that is encouraged in the United States is considered disrespectful in many other parts of the world due to the differences in power distance.[131] Many Asian and Middle Eastern countries do not have "open door" policies for subordinates and would never informally approach their managers/bosses. For countries like that, an authoritarian approach to management and leadership is more customary.

text: Despite cultural differences, the successes and failures of entrepreneurs can be traced to how leaders adapt to local conditions.[132] With the increasingly global business environment a successful leader must be able to adapt and have insight into other cultures. To respond to the environment, corporate visions are becoming transnational in nature, to enable the organization to operate in or provide services/goods for other cultures.[133]

text: Entrepreneurship Training and Education[edit]

text: Michelacci and Schivardi[134] are a pair of researchers who believe that identifying and comparing the relationships between an entrepreneur's earnings and education level would determine the rate and level of success. Their study focused on two education levels, college degree and post-graduate degree. While Michelacci and Schivardi do not specifically determine characteristics or traits for successful entrepreneurs, they do believe that there is a direct relationship between education and success, noting that having a college knowledge does contribute to advancement in the workforce.

text: Michelacci and Schivardi state there has been a rise in the number of self-employed people with a baccalaureate degree. However, their findings also show that those who are self-employed and possess a graduate degree has remained consistent throughout time at about 33 percent. They briefly mention those famous entrepreneurs like Steve Jobs and Mark Zuckerberg who were college dropouts, but they call these cases all but exceptional as it is a pattern that many entrepreneurs view formal education as costly, mainly because of the time that needs to be spent on it. Michelacci and Schivardi believe that in order for an individual to reach the full success they need to have education beyond high school. Their research shows that the higher the education level the greater the success. The reason is that college gives people additional skills that can be used within their business and to operate on a higher level than someone who only "runs" it.

text: Resources and Financing[edit]

text: Entrepreneurial resources[edit]

text: An entrepreneurial resource is any company-owned asset that has economic value creating capabilities. Economic value creating both tangible and intangible sources are considered as entrepreneurial resources. Their economic value is generating activities or services through mobilization by entrepreneurs.[135] Entrepreneurial resources can be divided into two fundamental categories: tangible and intangible resources.[136]

text: Tangible resources are material sources such as equipment, building, furniture, land, vehicle, machinery, stock, cash, bond and inventory that has a physical form and can be quantified. On the contrary, intangible resources are nonphysical or more challenging to identify and evaluate, and they possess more value creating capacity such as human resources including skills and experience in a particular field, organizational structure of the company, brand name, reputation, entrepreneurial networks that contribute to promotion and financial support, know-how, intellectual property including both copyrights, trademarks and patents.[137][138]

text: Bootstrapping[edit]

text: At least early on, entrepreneurs often "bootstrap-finance"[139] their start-up rather than seeking external investors from the start. One of the reasons that some entrepreneurs prefer to "bootstrap" is that obtaining equity financing requires the entrepreneur to provide ownership shares to the investors. If the start-up becomes successful later on, these early equity financing deals could provide a windfall for the investors and a huge loss for the entrepreneur. If investors have a significant stake in the company, they may as well be able to exert influence on company strategy, chief executive officer (CEO) choice and other important decisions. This is often problematic since the investor and the founder might have different incentives regarding the long-term goal of the company. An investor will generally aim for a profitable exit and therefore promotes a high-valuation sale of the company or IPO in order to sell their shares. Whereas the entrepreneur might have philanthropic intentions as their main driving force. Soft values like this might not go well with the short-term pressure on yearly and quarterly profits that publicly traded companies often experience from their owners.

text: One consensus definition of bootstrapping sees it as "a collection of methods used to minimize the amount of outside debt and equity financing needed from banks and investors".[140] The majority of businesses require less than $10,000 to launch,[141] which means that personal savings are most often used to start. In addition, bootstrapping entrepreneurs often incur personal credit-card debt, but they also can utilize a wide variety of methods. While bootstrapping involves increased personal financial risk for entrepreneurs, the absence of any other stakeholder gives the entrepreneur more freedom to develop the company. Many successful companies, including Dell Computer and Facebook, started by bootstrapping.[142]

text: Bootstrapping methods include:[143]

text:
Owner financing, including savings, personal loans and credit card debt
Working capital management that minimizes accounts receivable
Joint utilization, such as reducing overhead by coworking or using independent contractors
Increasing accounts payable by delaying payment, or leasing rather than buying equipment
Lean manufacturing strategies such as minimizing inventory and lean startup to reduce product development costs
Subsidy finance

text: Additional financing[edit]

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text: Many businesses need more capital than can be provided by the owners themselves. In this case, a range of options is available including a wide variety of private and public equity, debt and grants.[144] Private equity options include:

text:
Startup accelerators
Angel investors
Venture capital investors
Equity crowdfunding
Hedge funds

text: Debt options open to entrepreneurs include:

text:
Loans from banks, financial technology companies and economic development organizations
Line of credit also from banks and financial technology companies
Microcredit also known as microloans
Merchant cash advance
Revenue-based financing

text: Grant options open to entrepreneurs include:

text:
Equity-free accelerators[145]
Business plan/business pitch competitions for college entrepreneurs[146] and others
Small Business Innovation Research grants from the U.S. government

text: Effect of taxes[edit]

text: Entrepreneurs are faced with liquidity constraints and often lack the necessary credit needed to borrow large amounts of money to finance their venture.[147] Because of this, many studies have been done on the effects of taxes on entrepreneurs. The studies fall into two camps: the first camp finds that taxes help and the second argues that taxes hurt entrepreneurship.

text: Cesaire Assah Meh found that corporate taxes create an incentive to become an entrepreneur to avoid double taxation.[147] Donald Bruce and John Deskins found literature suggesting that a higher corporate tax rate may reduce a state's share of entrepreneurs.[148] They also found that states with an inheritance or estate tax tend to have lower entrepreneurship rates when using a tax-based measure.[148] However, another study found that states with a more progressive personal income tax have a higher percentage of sole proprietors in their workforce.[149] Ultimately, many studies find that the effect of taxes on the probability of becoming an entrepreneur is small. Donald Bruce and Mohammed Mohsin found that it would take a 50 percentage point drop in the top tax rate to produce a one percent change in entrepreneurial activity.[150]

text: Predictors of success[edit]

text: Factors that may predict entrepreneurial success include the following:[151]

text:
Establishing strategies for the firm, including growth and survival strategies
Maintaining the human resources (recruiting and retaining talented employees and executives)
Ensuring the availability of required materials (e.g. raw resources used in manufacturing, computer chips, etc.)
Ensuring that the firm has one or more unique competitive advantages
Ensuring good organizational design, sound governance and organizational coordination
Congruency with the culture of the society[152]

text:
Business-to-business (B2B) or business-to-consumer (B2C) models can be used
High growth market
Target customers or markets that are untapped or missed by others

text:
Growing industry
High technology impact on the industry
High capital intensity
Small average incumbent firm size

text:
Large, gender-diverse and racially diverse team with a range of talents, rather than an individual entrepreneur
Graduate degrees
Management experience prior to start-up
Work experience in the start-up industry
Employed full-time prior to new venture as opposed to unemployed
Prior entrepreneurial experience
Full-time involvement in the new venture
Motivated by a range of goals, not just profit
Number and diversity of team members' social ties and breadth of their business networks

text:
Written business plan
Focus on a unified, connected product line or service line
Competition based on a dimension other than price (e.g. quality or service)
Early, frequent intense and well-targeted marketing
Tight financial controls
Sufficient start-up and growth capital
Corporation model, not sole proprietorship

text:
Wealth can enable an entrepreneur to cover start-up costs and deal with cash flow challenges
Dominant race, ethnicity or gender in a socially stratified culture[153]